Novitski’s information on Greenburg’s development of a system that works with a sketch pad type device that can be rotated in three dimensions is an important step in the development of design interface. This interface seems to focus on collaborative efforts in the fact that this system “enables two or more designers to work on the same sketch” (Novitski, 2000a) through the internet. Although the software is out of reach for many architects due to the price, there are other possibilities that are available that are based on the same concept for much less. Other developments by Greenburg like the light measurement lab provide advancements in photorealistic rendering capabilities. With the ability to have precision light simulations in renderings, interior spaces can be altered, such as the placement of a window, in order to improve the quality of the space.
In Novitski’s second article he points out the drawbacks of technologies that map textures onto a surface in a geometric model and animations that give 360 point views around a viewpoint. The shortcomings identified in each are being overcome through identifying the errors and refining the algorithms. In Cornell’s Department of Architecture design studios were given the project to develop projects for Indian Culture museum using computers. Although the students did not have much experience in CAD, Autodesk software was used to get physically accurate renderings. They were also encouraged to “blend traditional, manual media with their computer work whenever it is appropriate or more comfortable, such as initial idea sketches” (Novitski, 2000b). This idea of educating students in the most advanced technologies has proven beneficial because some of the programs graduates have became leaders in the development of 3D modelers.
Spalter discusses many issues with rendering 3D graphics. In the section on surface reflection properties she explains two types of refection properties diffuse and specular, diffuse being dull/matte surface reflection and specular which is a mirror-like reflection. Texture mapping is another concept that is covered and it is said to be more than just the wrapping of a texture around an object. Textures can also, “be stretched or tiled over the entire model, and it can be scaled and rotated” (Spalter, pg. 262). Lighting elements of rendering are also covered which include ambient lighting, when light is equally distributed on all of the surfaces coming from no specific direction; point sources, light from a point in all directions creating light and dark spots; spotlight, when light from other angles is blocked. Environment mapping is also discussed, radiosity, a lighting model that deals with the physics of lighting surface interactions deal with lighting a scenes objects. Form factors are then calculated and lighting calculations are run then the scene can be viewed interactively.
These authors present their information on rendering as being an important tool for interior architecture. Novitski’s articles focus on how models and animations can give the user the capability to see full views of photorealistic images of their products or spaces. And with the development of new kinds of interfaces it encourages artists and architects to work on collaborative projects which expand the knowledge base of people in the field. Spalter covers many aspects of rendering that are important to the field of interior architecture. Aspects of rendering such as lighting conditions and environment mapping are important to the creation of realistic images. The simulation of lighting conditions can aid in determining window positioning or determine interior lighting placement and environment mapping can determine the effects of mirroring on an object.
Rendering is important to the field of architecture or product design mainly for the reason of production. Rendering allows for the designer to view, in context and simulated material, what the outcome will look like which can determine the alteration of materials of structure of a design. Spalter states, “with rendering techniques such as radiosity and ray tracing and effects such as fog, computer-based models today can be so realistic that the viewer cannot determine whether the resulting 2D image is a real or synthetic photography” (pg. 289). I believe that the future of rendering is now, with the advancements in current techniques, there are many instances where there is a fine line between reality and a rendered image. Although this process is usually only achievable by the seasoned professional, I believe there will be a time when anyone, with the simplest software will be able to accomplish these same kinds of images.
Novitski, B. (2000). Once and Future Graphics Pioneer. Architecture Week. Retrieved February 9, 2011, from http://www.architectureweek.com/2000/0913/tools_1-2.html
Novitski, B. (2000). Once and Future Graphics Pioneer, Part II. Architecture Week. Retrieved February 9, 2011, from http://www.architectureweek.com/2000/0920/tools_1-1.html
"Rendering 3D worlds - 3D Geometric Graphics II" by Anne Spalter, Addison Wesley Longman Inc. 1999, pp 257-293.
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